Thuluth font in Arabic Calligraphy – Madrasah Ummul Hasanaat tweet Thuluth (Arabic: ثلث “one-third”, Turkish: Sülüs) is a script variety of Islamic calligraphy, which made its first appearance in the 11th century CE (fourth century of the Hijrah). The straight angular forms of Kufic were replaced in the new script by curved and oblique lines. In Thuluth, one-third of each letter slopes, from which the name (meaning “a third” in Arabic) comes. It is a large and elegant, cursive script, used in medieval times on mosque decorations. Various calligraphic styles evolved from Thuluth through slight changes of form The greatest contributions to the evolution of the Thuluth script, occurred during Ottoman Empire in three successive steps that Ottoman Art Historians call “Calligraphical Revolutions”: ▪ The first “revolution” occurred in the 15th Century and was initiated by the Master Calligrapher Sheikh Hamdullah. ▪ The second revolution occurred as a result of the Ottoman Calligrapher Hâfız Osman in the 17th Century.

▪ Finally, Mehmed Şevkî Efendi in the late 19th Century, gave the script the distinctive shape it has today. ▪ The best known artist to write the Thuluth script at its zenith is said to be Mustafa Rakım Efendi, a painter who set a standard in Ottoman calligraphy which many believe has not been surpassed to this day. ▪ Thuluth was used to write the headings of surahs, Qur’anic chapters. Some of the oldest copies of the Qur’an were written in Thuluth. Later copies were written in a combination of Thuluth and either Naskhi or Muhaqqaq, while after the 15th century Naskhi came to be used exclusively. ▪ This font is much seen in Flag of Saudi Arabia where its text, Shahadatut Tawheed, is written in Thuluth. ▪ An important aspect of Thuluth script is the use of Harakat (“Hareke” in Turkish) for representing vowel sounds, and other marks that were created to beautify the script. The grammatical Harakat follows the normal rules for any Arabic script, but the ‘Art’ markings follow their own rules in relation to placement and grouping.

One common grouping technique is to separate the marks written below letters from those written above. The stylistic rules allow for great creativity as to shape and orientation. Scripts developed from Thuluth ▪ Since its creation thuluth has given rise to a variety of script used in calligraphy, and allowed numerous modifications during its course of evolution. Jeli Thuluth was developed to be used in large panels, such as tombstone etc. Muhaqqaq calligraphy script was developed by widening the horizontal sections of the letters in Thuluth. Naskh script was also developed from thuluth, by introducing a number of modifications resulting in smaller size and greater delicacy. Tawqi is a modified and smaller version of Thuluth . ▪ Riq’a was probably derived from the Thuluth and Naskh styles, the later itself being originated from thuluth.

2010-04-10 Styles of Arabic Calligraphy • Nihad Nadam خط الثلث Thuluth (Persian: ثلث‎ solos, Turkish: Sülüs, from Arabic: ثلث‎ ṯuluṯ “one-third”) is a script variety of Islamic calligraphy invented by the Persian Ibn Muqlah Shirazi[citation needed], which made its first appearance in the 11th century CE (fourth Hijri). The straight angular forms of Kufic were replaced in the new script by curved and oblique lines. In Thuluth, one-third of each letter slopes, from which the name (meaning “a third” in Arabic) comes. It is a large and elegant, cursive script, used in medieval times on mosque decorations. Various calligraphic styles evolved from Thuluth through slight changes of form. Thuluth was used to write the headings of surahs, Qur’anic chapters. Some of the oldest copies of the Qur’an were written in Thuluth.

Later copies were written in a combination of Thuluth and either Naskhi or Muhakkak, while after the 15th century Naskhi came to be used exclusively. This font is much seen in Flag of Saudi Arabia where its text, Shahada al Tawhid, is written in Thuluth. خط الثلث: من أروع الخطوط منظرا وجمالا وأصعبها كتابة وإتقانا سواء من حيث الحرف أو من حيث التركيب، كما أنه أصل الخطوط العربية، والميزان الذي يوزن به إبداع الخطاط. ولا يعتبر الخطاط فنانا ما لم يتقن خط الثلث، فمن أتقنه أتقن غيره بسهولة ويسر، ومن لم يتقنه لا يعد بغيره خطاطا مهما أجاد.

ويمتاز عن غيره بكثرة المرونة إذ تتعدد أشكال معظم الحروف فيه؛ لذلك يمكن كتابة جملة واحدة عدة مرات بأشكال مختلفة، ويطمس أحيانا شكل الميم للتجميل، ويقل استعمال هذا النوع في كتابة المصاحف، ويقتصر على العناوين وبعض الآيات والجمل لصعوبة كتابته، ولأنه يأخذ وقتا طويلا في الكتابة Thuluth Calligraphy Style Samples خط الديواني Diwani is a calligraphic variety of Arabic script, a cursive style developed during the reign of the early Ottoman Turks (16th century – early 17th century). It was invented by Housam Roumi and reached its height of popularity under Süleyman I the Magnificent (1520–1566). It was labeled the Diwani script because it was used in the Ottoman diwan and was one of the secrets of the sultan’s palace. The rules of this script were not known to everyone, but confined to its masters and a few bright students. It was used in the writing of all royal decrees, endowments, and resolutions.

The Diwani script is divided into two types: 1. The Riq`a Diwani style, which is devoid of any decorations and whose lines are straight, except for the lower parts of the letters. 2. The Jeli Diwani or clear style. This kind of handwriting is distinguished by the intertwining of its letters and its straight lines from top to bottom. It is punctuated and decorated to appear as one piece. The Diwani handwriting is known for the intertwining of its letters, which makes it very difficult to read or write, and difficult to forge. Diwani is marked by beauty and harmony, and accurate small samples are considered more beautiful than larger ones. It is still used in the correspondence of kings, princes, presidents, and in ceremonies and greeting cards. and has a high artistic value.

الخط الديواني أو الخط السلطاني وهو أحد الخطوط العربية وقد سمي بالديواني والسلطاني نسبة إلى ديوان السلطان العثماني حيث كان هذا الخط يستعمل في كتابة المراسلات السلطانية للخط الديواني جماليته التي يستمدها من حروفه المستديرة والمتداخلة، إلا أن ذلك قد يكون على حساب سهولة القراءة، حتى أنه ليصعب أحيانا التمييز بين الألف واللام إن كانا في بداية الكلمة. كما قد يلجأ الخطاط إلى ربط الحروف المنفصلة مثل الراء والواو والألف والدال بالحروف التي تأتي بعدها Diwani Calligraphy Style Samples خط النسخ Naskh is a specific calligraphic style for writing in the Arabic alphabet, The root of this Arabic term nasaḫa (نسخ) means “to copy”. It either refers to the fact that it replaced its predecessor, Kufic script, or that this style allows faster copying of texts. With small modifications, it is the style most commonly used for printing Arabic, Persian, Pashto.

خط النسخ هو أحد أوضح الخطوط العربية يمكن استخدامه في كتابة المطبوعات اليومية والكتب التعليمية والمصاحف وقد سمي بعدة تسميات: البديع، المقور، المدور، يجمع بين الرصانة والبساطة ومثلما يدل عليه اسمه فقد كان النساخون يستخدمونه في نسخ الكتب. أما خط الرقعة فهو خط عربي سهل يتميز بالسرعة في كتابته يجمع في حروفه بين القوة والجمال في آن واحد. لا يهتم بتشكيله إلا في الحدود الضيقة باستثناء الآيات القرآنية. وهو من الخطوط المعتادة التي تكتب في معظم الدول العربية. وجميع حروفه مطموسة عدا الفاء والقاف الوسطية. تكتب جميع حروف الرقعة فوق السطر ما عدا الهاء الوسطية والجيم والحاء والخاء والعين والغين المنفصلات وميم آخر الكلمة أو الميم المنفصلة. خط الرقعة Ruqʿah or Riqʿah ( Arabic : رقعة‎) is a calligraphic variety of Arabic script .

The Ruqʿah style of handwriting is the most common type of handwriting. It is known for its clipped letters composed of short, straight lines and simple curves, as well as its straight and even lines of text, خط الرقعة خط سهل وبسيط. يتميز بالسرعة في كتابته يجمع في حروفه بين القوة والجمال في آن واحد. لا يهتم بتشكيله إلا في الحدود الضيقة، وهو من الخطوط المعتادة التي تكتب في معظم الدول العربية. وقام المستشار ممتاز بك في الدولة العثمانية بوضع قواعد خط الرقعة في القرن الثالث عشر الهجري ( عام 1280هجريا)- فهو لم يخترعه وإنما كتب قواعده. Taking A Closer Look At Arabic Calligraphy – Smashing Magazine 41 Comments Arabic calligraphy was originally a tool for communication, but with time, it began to be used in architecture, decoration and coin design. Its evolution into these major roles was a reflection of the early Muslims’ need to avoid, as their beliefs required, figures and pictorials that were used as idols before Islam was established in the Arabian Peninsula.

While the Arabic tribes preferred to memorize texts and poetry, the first Muslims tried to document their holy book (Qur’an Kareem) using the scripts that we’ll look at in this article. In order to understand how these scripts developed into the beautiful and complex shapes we know today, we have to understand the history of Arabic calligraphy. Over the course of their development, the Arabic scripts were created in different periods and locations of the expansive Islamic Empire. There is also a close relationship between each Arabic script and its common usage throughout history. This leads us to the question of why this article is important, especially for non-Arabic speakers, and what information can be gleaned from each script. Well, understanding the history of each script and how Arabic calligraphy evolved over the history of the Islamic Empire can expand our visual experience beyond the beautiful glyphs and forms. Some scripts reflect the time period in which they developed, such as the Musand script, which emerged at an early stage in the history of Arabic calligraphy. Others provide geographical insight into where the artwork was developed, such as the Maghribi script, which distinguishes the artwork and inscriptions of northwest Africa. Can different scripts tell us more information, such as the geographical area where each was developed?

How much is the local culture affected by each script? We will try to answer these questions, while briefly going through the history and style of each script. The Early Development Of Arabic Scripts Link Digging deep into the history of the Arabian Peninsula and the origin of the Arabic language, archeologists have found inscriptions that show a close relationship between Arabic scripts and some earlier scripts, such as the Canaanite 1 and Aramaic Nabataean 2 alphabets that were found in the north of the Arabian Peninsula. These inscriptions were date to the 14th century BC. Comparison of the old scripts letters (Image source: Wikipedia 3 ) Arabic Musnad Link The first Arabic script, Arabic Musnad 4 , which likely developed from the above-mentioned languages, doesn’t have the cursive aesthetic that most people associate with modern Arabic scripts. Discovered in the south of the Arabian Peninsula, in Yemen, this script reached its final form around 500 BC and was used until the 6th century. It did not look like modern Arabic, as its shapes were very basic and resembled more the Nabataean and Canaanite alphabets than the Arabic shapes.

Al-Jazm Link The first form of an Arabic-like alphabet is known as the Al-Jazm script 6 , which was used by northern tribes in the Arabian Peninsula. Many researchers think the roots of this script go back to the Nabatean script, and yet the early Arabic scripts also seem to have been affected by other scripts in the area, such as the Syriac and Persian scripts. The Al-Jazm script continued to develop until the early Islamic era in Mecca and Medina in the west of the Arabian Peninsula. Arabic Al-Jazm script (Image source: Saad D. Abulhab 7 ) The Al-Jazm script developed into different styles, such as the Hiri, Anbari, Makki and Madani. During this period, some other scripts developed, such as the Ma’il, which is considered the predecessor of the Kufic script. Other scripts did not make it through the development process, such as the Mukawwar, Mubsoott and Mashq (which you can read more about in “ The Development of the Arabic Script: A Brief History 44 8 ” by professor M.J. Alhabeeb of the University of Massachusetts Amherst).

Usually, these scripts were used before and during the early days of the Islamic Empire in the Arabian Peninsula. Kufic Script Link Following the Arabic Musnad and Al-Jazm, the Kufic script evolved as the next stage of Arabic calligraphy’s development. Unlike those two old scripts, we can identify known letter shapes in the early development of the Kufic script. As the Kufic script developed over the 7th century, it played an essential role in documenting the Muslim holy book (Qur’an Kareem). The Kufic script is one of the oldest Arabic scripts that persisted in common use until the 13th century. Its name refers to the city of Kufa in Iraq, where it first appeared, yet most instances of this script were found nearly a thousand kilometers to the south in Medina in the Arabian Peninsula, where the Prophet Mohammed stayed after moving from Mecca. In the early stages of its development, the Kufic script did not include the dots that we know from modern Arabic scripts. The letter dots (Nuqat) were added during the later development of this and other scripts.

Also, at a later stage, Abul Aswad Al Du’ali (688 CE) and Al Khalil Ibn Ahmed Al Farahidi (786 CE) developed the diacritical marks (Tashkeel) that indicate the vowels of the letters. If we examine Kufic script inscriptions, we’ll notice particular characteristics, such as the angular shapes and long vertical lines. The script letters used to be wider, which made writing long content more difficult. Still, the script was used for the architectural decoration of buildings, such as mosques, palaces and schools. These characteristics affected the usability of the script and made it more suitable for architectural and written Islamic titles, instead of long texts. The Kufic script continued its development through the different dynasties, including the Umayyad (661 – 750 CE) and Abbasid (750 – 1258 CE) dynasties.

Below are some examples of Kufic scripts and their different developmental stages: Kufic script from the 9th – 10th centuries (Image source: Will Schofield 9 ) Kufic script from the Holy Qur’an, 11th century (Image source: Smithsonian’s Museums of Asian Art 10 ) Royal Mosque (Imam Mosque) minaret decorated with square Kufic (Image source: Patrick Ringgenberg 11 ) Islamic Derham from the Abbasid period with Kufic scripts on both sides (Image source: Hussein Alazaat 12 ) While Kufic has been used for a long time and is one of the more common scripts across the Islamic civilization, some versions of it were developed in particular areas, such as Egypt and Iraq. Understanding how the script developed in different areas and being able to identify each variation of it will help us identify the origins of the artifacts where they appear. Variations and developments of the Kufic script include the following: The thick Kufic script This is one of the earliest forms of the Kufic script and was used in the early copies of the Holy Qur’an, known as the Uthman Qur’an.

Magribi Kufic script This script is another version of the Mashriqi script that was developed in Iran. Ghaznavid and Khourasan scripts These two other forms of the Kufic script were developed in Iran. These scripts have the same thickness as the original Kufic script, with long vertical lines and decorative ends. Fatimid Kufic This form developed in North Africa, especially in Egypt. It was written in thick lines and short curves. Square Kufic This form is very noticeable, with its straight letters and no curves at all. As an Egyptian citizen, resident in Cairo, I enjoy the Fatimid Kufic as part of my daily life because it can be seen in the architectural decorations on the old Islamic buildings. This script was used with decorative motifs in the characters themselves or as a background. The letters are marked with straight lines and angles, with short curves for some letters at the ends of words. One of the leading scholars and an award-winning researcher in the Fatimid Kufic script is Bahia Shehab, Professor of Professional Practice at the American University in Cairo.

The Fatimid Kufic script appears in the architecture of Bab Al Nasr, a gate built by Babr Al-Jamali, a minister of Fatimid Caliphate (909 – 1171 CE), on the northern wall of Fatimid Cairo (Image source: Md iet 13 ) The Fatimid Kufic script appears here on the Sultan Hasan mosque in the Fatimid Cairo. (Image source: Stars in Symmetry) Abbasid Dynasty Link After the Umayyad dynasty came the Abbasid dynasty 14 (750 – 1258 CE), bringing advancements to Arabic calligraphy. During this period, Thuluth and Naskh were developed. The three calligraphers responsible for these developments were Ibn Muqlah, followed by Ibn Al Bawwab (11th century) and Yaqut Al Musta’simi (13th century). Ibn Muqlah 15 restricted the scripts’ proportions to six cursive styles, including the Thuluth, Naskh and Muhaqqaq. These rules are based on four elements: the rhombic dot, the alif, the circle and the similarity system.

These changes helped to develop the Kufic script with the cursive styles shown below. Thuluth Script Link The name “Thuluth” means one third, which might refer to the size of the pen used to write the script. It is one of the cursive scripts that was commonly used to decorate mosques and different types of texts. The Thuluth script was first developed in the 11th century during the Abbasid dynasty and was refined by calligrapher Seyh Hamdullah during the Ottoman dynasty. It is the basis of scripts that appear later, such as the Jeli Thuluth, the Naskh and the Muhaqqaq, the last two of which we will cover later in this article. The Thuluth script is marked by its clear structure and readability, which make it suitable for a number of purposes, even today. The cursive letters and long lines make it easily readable and usable for both titles and long texts. Therefore, it was used in the Holy Qur’an and in architectural decorations in many regions of the Islamic Empire. Below are some examples of the Thuluth script.

Thuluth script in Sultan Ahmet Mosque in Istanbul, Turkey (Image source: Puccaso 19 ) The exterior decorations of the Taj Mahal in India, written in the Thuluth script (Image source: Habeeb 20 ) A modern instance of the Thuluth script is the flag of the Kingdom of Saudi Arabia (Image source: Wikipedia 21 ) Naskh Script Link During the same period, the 10th century, another main script was developed. Used to copy books, especially the Holy Qur’an, Naskh, which means “copy,” was later refined by Islamic calligraphy master Seyh Hamdullah (1436 – 1520) during the Ottoman dynasty. Known for its readable glyphs, the Naskh was traditionally used for long texts and inscriptions. Its use continues today in the design of printed Arabic books, due to its modern look and cursive letters. One page from the Holy Qur’an, written in the Naskh script (Image source: US Library of Congress 22 ) Pottery drinking vessel, with Naskh script, from the 13th century CE (Image source: A.

Davey 23 ) Safavid Dynasty Link After the Abbasid dynasty, the Safavid dynasty 24 (1502 – 1736) was established in Persia and made substantial contributions to Islamic arts and calligraphy. It developed the existing Ta’liq script and produced a more developed version, called Nasta’liq, during the reign of Shah Islma’il and his successor, Shah Tahmasp. Ta’liq Script Link The word Ta’liq means “suspension” and was inspired by the shape of the script’s lines, which look hung together. Widely used for a variety of purposes, such as messages, books, letters and poems, the Ta’liq script was formed during the 11th century, was refined during the 13th century in Persia and is still used today. As mentioned, the words appear hung together and connect to each other, and the letters are rounded and have a lot of curves. While this makes it less legible, the script is often written with a large distance between lines to give more space for the eye to identify letters and words.

While the spaces between lines are helpful, they consume the page, which is obviously a disadvantage when space is limited or the text is long. Example of Ta’liq script (Image source: Wikimedia 25 ) Nasta’liq Script Link The Nasta’liq is a refined version of the Ta’liq script, although with elements of Naskh. It developed during the 15th century and continued until the 16th century in Persia and Turkey. Merging the characteristics of both scripts, such as the short vertical lines of Naskh and the long curved horizontal strokes of Ta’liq, it is still used in Persia, India and Pakistan for writing in Persian, Urdu and Punjabi. In terms of legibility, it’s an improvement on the Ta’liq but harder to read than Naskh. The letters are a little hooked, similar to those of the Ta’liq script, and vary in thickness. Although the arrangement of letters flows smoothly and in harmony, it is hard to write and is less readable than many other scripts.

Both the Ta’liq and Nasta’liq scripts have left their mark on Persian art and architecture, and you can easily identify Persian inscriptions by the type of scripts they’re written in. Example of Nasta’liq (Image source: Wikipedia 26 ) Decorative paper with Nasta’liq (Image source: Wikipedia 27 ) The Maghribi (North Africa) Link Maghrib refers to the west side of North Africa in the Islamic Empire. This area is distinguished by the Maghribi script, used in writings, inscriptions and monuments. The Maghribi script developed during the 10th century and is still used today in Spain and western North Africa, particularly in Morocco, Algeria and Tunisia. In this way, the Maghribi script drifted away from the scripts discussed above that developed in the Middle East and Arabian Peninsula. The Maghribi script is marked by descending lines written with very large bowls and by letters of a unified thicknesses. The special form of its letters gives it a unique beauty and makes it easy to read, even in long text. Because of its decorative appearance, The Maghribi script is suitable for decorations as well as titles.

Verses from the Holy Qur’an written in the Maghribi script (Image source: Wikimedia 28 ) Verses from the Holy Qur’an written in the Maghribi script (Image source: Chester Beatty Library 29 ) Ottoman Dynasty Link During the Ottoman Empire 30 (1444 – 1923), Arabic calligraphy went through a noticeable evolution, not only because of the development of a new script but also because of the enhancement of existing scripts. Most Arabic scripts reached their final and modern form during the period between the 15th and 19th centuries. The Ottoman reign is considered a remarkable period in the development of Arabic calligraphy, second only to the Abbasid dynasty. Throughout the four centuries of the Ottoman Empire, many scripts were developed, such as Diwani, Riq’a, Jeli Dewani, Tughra’a and Siyaqat. Many calligraphers contributed to this development of Arabic calligraphy, including Mustafa Halim (died 1964), Nejmiddin Okyay (died 1976) and Hamid Aytac Al-Amadi (died 1982).

We’ll cover two commonly known scripts from this era, the Diwani and Riq’a scripts. Diwani Script Link The name of this script derives from “Diwan,” the name of the Ottoman royal chancery. It was used in the courts to write official documents. Developed during the 16th century, it reached its final shape in the 19th century and is still used today. It is defined by its beautiful curved letters, merged to form complex shapes and decorative forms. This complexity makes it harder to use with long text, so a simpler version of the script is needed if a calligrapher is to use it for that purpose. Example of Diwani script (Image source: Wikimedia 31 ) Another complex instance of the Diwani script in the shape of a boat (Image source: Wikipedia 32 ) Riq’a Script Link As we’ve seen, the names of some scripts come from the geographical area where they developed. In this case, the name “Riq’a” derives from how the script was used: written on small pieces of paper or cloth. It seems to be one of the more recent scripts, developed in the 18th century, and is still used today.

The Riq’a script is known for its simple form, making it perfect for paragraphs and long texts. The way its letters are connected makes it particularly easy to convert into a digital font. However, it is not especially attractive in titles or decorations because it does not have the sophisticated letterforms of the Diwani, Thuluth and Kufic scripts. Paper from the Holy Qur’an in Riq’a script (Image source: Wikimedia 33 ) Paper from the Holy Qur’an in Riq’a script (Image source: Wikimedia 34 ) Conclusion Link Arabic calligraphy has developed for over 14 centuries in various regions around the world. This history and diversity has enriched Arabic scripts with ever more complex and artistic forms. During this long period, the Baghdadi and Ottoman eras contributed the most to its development. Arabic calligraphy is still today one of the most widely acknowledged arts and continues to develop both in traditional methods as well as in digital and computer-generated arts. Arabic calligraphers from around the world continue to develop their own styles and artwork based on existing scripts and their own letters and scripts. Free modern scripts contribute to the art just as much as traditional scripts have done.

Resources Link Below are links to some master calligraphers of today who enrich Arabic calligraphy with their artwork and masterpieces: Thuluth : definition of Thuluth and synonyms of Thuluth (English) The flag of Saudi Arabia , also in Thuluth. Thuluth ( Persian : ثلث‎ solos, Turkish : Sülüs, from Arabic : ثلث‎ ṯuluṯ "one-third") is a script variety of Islamic calligraphy invented by the Persian Ibn Muqlah Shirazi , which made its first appearance in the 11th century CE (fourth Hijri ). The straight angular forms of Kufic were replaced in the new script by curved and oblique lines. In Thuluth, one-third of each letter slopes, from which the name (meaning "a third" in Arabic) comes. It is a large and elegant, cursive script, used in medieval times on mosque decorations. Various calligraphic styles evolved from Thuluth through slight changes of form. Contents 8 External links History Fragments of repeated Shi'i blessings (al-salam 'alayka) in Arabic directed to Husayn, the Prophet Muhammad's grandson through his son-in-law 'Ali.

He is addressed by his many names and epithets, such as the "servant of God" (abd Allah), "son of the Prophet" (ibn rasul), "goodness of God" (khayrat Allah), "son of the Leader of the Faithful" (ibn amir al-mu'minin), and "son of Fatimah, the radiant" (ibn Fatimah al-zahra'). Script: Indian thuluth. Muhammed's name with Salat phrase in Thuluth. The greatest contributions to the evolution of the Thuluth script, occurred during Ottoman Empire in three successive steps that Ottoman Art Historians call "Calligraphical Revolutions": The first "revolution" occurred in the 15th Century and was initiated by the Master Calligrapher Şeyh Hamdullah , [1] [2] The second revolution occurred as a result of the Ottoman Calligrapher Hâfız Osman in the 17th Century, [3] [4] Finally, Mehmed Şevkî Efendi in the late 19th Century, gave the script the distinctive shape it has today.

[5] [6] [7] Artists The best known artist to write the Thuluth script at its zenith is said to be Mustafa Râkım Efendi , a painter who set a standard in Ottoman calligraphy which many believe has not been surpassed to this day. [8] Usage Thuluth was used to write the headings of surahs , Qur'anic chapters. Some of the oldest copies of the Qur'an were written in Thuluth. Later copies were written in a combination of Thuluth and either Naskhi or Muhakkak , while after the 15th century Naskhi came to be used exclusively. This font is much seen in Flag of Saudi Arabia where its text, Shahada al Tawhid , is written in Thuluth. Style An important aspect of Thuluth script is the use of Harakat ("Hareke" in Turkish) for representing vowel sounds, and other marks that were created to beautify the script. The grammatical Harakat follows the normal rules for any Arabic script, but the 'Art' markings follow their own rules in relation to placement and grouping. One common grouping technique is to separate the marks written below letters from those written above.

The stylistic rules allow for great creativity as to shape and orientation. Scripts developed from Thuluth Since its creation thuluth has given rise to a variety of script used in calligraphy, and allowed numerous modifications during its course of evolution. Jeli Thuluth was developed to be used in large panels, such as tombstone etc. Muhaqqaq calligraphy script was developed by widening the horizontal sections of the letters in Thuluth. Naskh script was also developed from thuluth, by introducing a number of modifications resulting in smaller size and greater delicacy. Tevki is a modified and smaller version of Thuluth . Ruq'ah was probably derived from the Thuluth and Naskh styles, the later itself being originated from thuluth. See also Calligraphy Fonts - Saudi Arabian Islamic Art Posted by Cultural Heritage Tour Guide on Nov 19, 2014 in Arabian | 0 comments Calligraphy Fonts – Saudi Arabian Islamic Art Most popular in saudi arabia, calligraphy is the arabian art of writing and set of skills and techniques for positioning and inscribing words.

Dating back 1,400 years to the first century of Islam, calligraphy is a revered art in Saudi Arabia. In Arabic- Islamic cultures, book arts such as calligraphy and illumination are the greatest and most respected form of visual art. The incredible art in saudi arbia world, Calligraphy is the art of forming beautiful symbols by hand and arranging them well. It’s a set of skills and techniques for positioning and inscribing words so they show integrity, harmony, some sort of ancestry, rhythm and creative fire. The word “calligraphy” is derived from two Greek words, denoting “beautiful writing”. Calligraphy or the art of writing has thousands of years in its history and development, and indeed calligraphy fonts, which we often use these days on our PCs to create a postcard or a wedding invitation card, are absolutely about aesthetics, refinement, creativity, and pure beauty. It is usually used for wedding invitations way back years ago, but recently more and more design elements are using calligraphic font style as part of their full-packed layout. Thuluth Style Saudi Arabia is the birthplace of Islam, with the world’s two holiest Muslim sites as well as its two largest mosques.

The rich art of the Islamic world, from the design of mosques to calligraphy and decorative objects, has its roots in the history and culture of Saudi Arabia’s nomadic tribes. Contemporary artists are now carrying this tradition into galleries and international exhibitions. Calligraphy fonts are widely used in wedding, event invitations, original logo design, religious art, films, TV etc. Burgues Script created by Alejandro Paul is a typical font family of calligraphy style. According to the designer, the font is an ode to the late 19th century American calligrapher Louis Madarasz, known as “the most skillful penman the world has ever known.” Calligraphy grew out of the desire to document Arabic tribes’ love of poetry and oral tradition, as well as Islam’s religious tenets, on the page. Used extensively in editions of Islam’s holy book, the Qur’an, calligraphic writing dedicated to holy scripture is generally known as kufic script and has multiple styles. Calligraphic inscriptions are found not only in manuscripts, but in mosques and on decorative objects, serving as inspirations for meditation and prayer. Decorative script is also used in non-religious text that appears on more practical objects like plates or jewelry.

Arabic islamic script calligraphy was originally a tool for communication, but with time, it began to be used in architecture, decoration and coin design. Its evolution into these major roles was a reflection of the early Muslims’ need to avoid, as their beliefs required, figures and pictorials that were used as idols before Islam was established in the Arabian Peninsula. Calligraphy facts in Museums Saudi museums collect and display rare manuscripts. Other organizations commission works of calligraphy, provide training in the art form, and hold competitions to encourage new generations of young artists. Arabic-Islamic styles of Calligraphy Font art Thuluth Style Thuluth (Persian: ثلث‎ solos, Turkish: Sülüs, from Arabic: ثلث‎ ṯuluṯ “one-third”) is a script variety of Islamic calligraphy invented by the Persian Ibn Muqlah Shirazi[citation needed], which made its first appearance in the 11th century CE (fourth Hijri). The straight angular forms of Kufic were replaced in the new script by curved and oblique lines. In Thuluth, one-third of each letter slopes, from which the name (meaning “a third” in Arabic) comes.

It is a large and elegant, cursive script, used in medieval times on mosque decorations. Various calligraphic styles evolved from Thuluth through slight changes of form. Thuluth was used to write the headings of surahs, Qur’anic chapters. Some of the oldest copies of the Qur’an were written in Thuluth. Later copies were written in a combination of Thuluth and either Naskhi or Muhakkak, while after the 15th century Naskhi came to be used exclusively. This font is much seen in Flag of Saudi Arabia where its text, Shahada al Tawhid, is written in Thuluth. Diwani Style Diwani is a calligraphic variety of Arabic script, a cursive style developed during the reign of the early Ottoman Turks (16th century – early 17th century). It was invented by Housam Roumi and reached its height of popularity under Süleyman I the Magnificent (1520–1566). It was labeled the Diwani script because it was used in the Ottoman diwan and was one of the secrets of the sultan’s palace.

The rules of this script were not known to everyone, but confined to its masters and a few bright students. It was used in the writing of all royal decrees, endowments, and resolutions. The Jeli Diwani or clear style. This kind of handwriting is distinguished by the intertwining of its letters and its straight lines from top to bottom. It is punctuated and decorated to appear as one piece. The Diwani handwriting is known for the intertwining of its letters, which makes it very difficult to read or write, and difficult to forge. Diwani is marked by beauty and harmony, and accurate small samples are considered more beautiful than larger ones. It is still used in the correspondence of kings, princes, presidents, and in ceremonies and greeting cards. and has a high artistic value. Calligraphic Sculptures in Saudi Arabia In Jeddah, if you need to give route directions you will surely need roundabouts as reference points. Each roudabout is usually named after what it physically represents.

You have the fist roundabout, which is a huge golden sculpted fist, the flying carpet, the history roundabout, the geometry roundabout, the ships roudabout, and many more.Other than the roundabouts there are typographic sculptures along the coastline walk and the highways. They represent verses from the Qur’an, poetry, proverbs or abstract non-narrative calligraphy. Beautiful Calligraphic Fonts

Question: The script of Thuluth, a variety of Islamic calligraphy, is seen on the flag of what country?
Answer: Saudi Arabia